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Andrew Frayn

), pp. 15, 16. 19 Pierre Sorlin, ‘Cinema and the Memory of the Great War’, in Michael Paris (ed.), The First World War and Popular Cinema, 1914 to the Present (Edinburgh: Edinburgh University Press, 1999), p. 18. 20 Laura Marcus, ‘The Great War in Twentieth-Century Cinema’, in Vincent Sherry (ed.), The Cambridge Companion to the First World War (Cambridge: Cambridge University Press, 2005), p. 292. 21 See Nicholas Hiley, ‘The British Cinema Auditorium’, in Karel Dibbets and Bert Hogenkamp (eds), Film and the First World War (Amsterdam: Amsterdam University Press

in Writing disenchantment
A therapy and a pharmacopoeia
Alexandra Parsons

2021). 8 Chris Lippard and Guy Johnson, ‘Private Practice, Public Health: The Politics of Sickness and the Films of Derek Jarman’, in Fires Were Started: British Cinema and Thatcherism , ed. Lester Friedman (Minneapolis: University of Minnesota Press, 1993), pp. 301–14 (p. 311). It is also quoted in part by Brophy, Witnessing AIDS , p. 32; Ellis, Angelic Conversations , p. 193; Peake, Derek Jarman , p. 442

in Luminous presence
Love in a postcolonial climate
Deborah Philips

According to McAleer: ‘Although … Romantic Fiction: The New Writers’ Guide urged authors “Never set a whole book in a country you have not visited …”, many successful Mills & Boon authors did just that’. Passion’s Fortune, p. 260. 10 E.H. Carter, Across the Seven Seas: The story of the British Commonwealth and empire (London: Thomas Nelson and Sons, 1954, pp. v–vi). 11 Official website of the British Monarchy, (accessed November 2009). 12 Christine Geraghty, British Cinema in the Fifties: Gender, genre and the ‘New Look’ (London: Routledge, 2000

in End of empire and the English novel since 1945
Versions of the author in contemporary biopics
Kinga Földváry

commonly used meaning of the term. 7 J. E. Kingsley-Smith, ‘Shakespearean Authorship in Popular British Cinema’, Literature/Film Quarterly , 30:3 (2002), 158–65, 163, n. 1 . 8 K. Scheil and G. Holderness, ‘Introduction: Shakespeare and “the Personal Story”’, Critical Survey , 21:3 (2009), 1–5, 2–3 . 9 See Murray-Pepper, ‘The “Tables of Memory”’ . 10 K. Elliott, ‘Screened Writers’, in Cartmell (ed.), A Companion to Literature, Film, and Adaptation , pp. 179–97, p. 193 (italics in original) . 11 Kingsley-Smith, ‘Shakespearean Authorship in Popular

in Cowboy Hamlets and zombie Romeos
Surreal Englishness and postimperial Gothic in The Bojeffries Saga
Tony Venezia

English Gothic Cinema 1946–1972 (London: Gordon Fraser, 1973 ), pp. 21–2. 24 Andrew Spicer, ‘Occasional Eccentricity: The Strange Course of Surrealism in British Cinema’, in The Unsilvered Screen: Surrealism on Film , ed. Graeme Harper and Rob Stone (London

in Alan Moore and the Gothic Tradition
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Kinga Földváry

popular subgroup of British-Asian films in the United Kingdom has garnered a huge following, even beyond their primary audiences, especially in the twenty-first century. As Dwyer emphasises the mixed cultural upbringing of the younger generation of British-Asian audiences who ‘have mainly been socialised in Britain’ and ‘have grown up with Hollywood and British cinema and British television and other British media’, 30 we may begin to understand why recent British-Asian cinema appears to be more successful at combining Bollywood and Hollywood elements into a natural

in Cowboy Hamlets and zombie Romeos
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The screen incarnations of Sir Walter Ralegh
Susan Campbell Anderson

which women have moved into 33 Geoff Mayer, Guide to British Cinema (Westport, CT: Greenwood Press, 2003), 366–8. 34 In ‘Virgin Territory’, The Virgin Queen (2008). 35 Ibid. 36 Jay Matthews terms D-Day: The Sixth of June one of the three best films about D-Day. See ‘Battle to Buy D-Day Movie’, Washington Post, 3 June 1994, N63. Further, Melanie Williams notes that Todd’s war films were seen as a ‘mainstay of British national cinema’. See ‘The Most Explosive Object to Hit Britain Since the V2!’ Cinema Journal 46 (2006), 85–107. See D-Day: The Sixth of June. Dir

in Literary and visual Ralegh
Open Access (free)
The art of performance and her work in film
Katharine Cockin

), ‘Ellen Terry Creating the Brand’, in Katharine Cockin, ed., Ellen Terry, Spheres of Influence, London: Pickering and Chatto, pp. 133–49. Cockin, Katharine (2017), Edith Craig and the Theatres of Art, London: Bloomsbury Methuen Drama. Davis, Tracy C. (2009), ‘Nineteenth-Century Repertoire’, Nineteenth Century Theatre and Film, 36.2, pp. 6–28. Gledhill, Christine (2003), Reframing British Cinema 1918–28: Between Restraint and Passion, London: British Film Institute. Gottlieb, Robert (2010), Sarah: The Life of Sarah Bernhardt, New Haven, CT: Yale University Press. Hanson

in Stage women, 1900–50
Open Access (free)
Margaret Rutherford
John Stokes

, London: Hodder and Stoughton. Jeffreys, Sheila (1985), The Spinster and Her Enemies: Feminism and Sexuality 1880–1930, London: Pandora. Jones, Mervyn (1959), ‘South American Casino’, Observer, 7 June, p. 22. Keown, Eric (1953), ‘At the Play’, Punch, 4 March, p. 305. Keown, Eric (1956), Margaret Rutherford, London: Rockliff. Kretzmer, Herbert (1966), ‘Rutherford, Richardson … a Must for the Devotees’, Daily Express, 7 October, p. 4. Macnab, Geoffrey (2000), Searching for Stars: Rethinking British Cinema, London: Cassell. Merriman, Andy (2009), Margaret Rutherford

in Stage women, 1900–50
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Sorcha Ní Fhlainn

London, and garnered a nomination for the World Fantasy Award for Best Novel in 1986. His creative reputation in horror circles quickly bled across into filmmaking; remarkably, within three years of his first successful publication, he was directing his first feature film and creating a nightmarish vision that would achieve cult acclaim and leave a bloody imprint in 1980s British cinema. Barker vehemently

in Clive Barker